Opera: 'Don Pasquale'

By WILL CRUTCHFIELD

Published: November 16, 1987

THE Western Opera Theater, the touring wing of the San Francisco Opera that has been visiting the boroughs outside of Manhattan regularly in recent seasons, brought ''Don Pasquale'' to Queens College on Saturday night. Between Donizetti's sparkling score, the energy of four lively performers in the leads, the reasonably trim orchestra under Patrick Summers and the generous sprinkling of gags from old movies and new sitcoms, this ''Pasquale'' had enough going for it to give the audience a thoroughly enjoyable evening, even though the soul of the opera is something more tender and touching than this performance ever hinted.

It's a good opera for touring because the cast is small and the scenic requirements are light. Jack Eddleman, the director, set the opera in the first half of the 20th century; the sets, costumes and coiffure by Jay Kotcher and Gerd Mairandres, drew on images suggesting variously the 20's, 30's and 40's. And it's a good opera for young singers because none of the parts require a grand voice or a regal personality. Through the years it has always been possible for companies to put up a lovely ''Pasquale'' relying on fresh young voices rather than stars.

But that was the trouble, or part of it. The singers appeared to be young, but none of the voices sounded fresh. Sweet lyricism and elegant, affectionate shaping of phrases were not to be had, and that is a heavy loss for a score like ''Don Pasquale'' to sustain. Laurinda Nikkel as Norina and Ron Baker as Dr. Malatesta were repeatedly put in an awkward position by Donizetti's assumption of expertise in florid music. They were impressive in the soft-shoe and cakewalk routines with which Mr. Eddleman decked out their duet, but they danced somewhat better than they sang. John Daniecki as Ernesto had several good ideas, but the kind of vocal technique to which he has aspired (or been guided) gives him little chance of realizing them. Mr. Summers did not help with his inflexible tempos and the amount of thoughtless orchestral loudness he permitted.

Nick Netos as the old Don blustered more than he sang, which is not a fatal drawback if the part is acted well, but like everyone else he seems to have been directed to pile on the shtick. The notary (Eric McCluskey) was gratuitously played as a mincing, limp-wristed parody of a homosexual; it's about time for this comic caricature to go the way of the shuffling darkie and other offensive stereotypes.

''Don Pasquale'' can be done with sincerity or with gags and cliches; both options have always been available, but the interpreters one values have always been the ones who go to the hearts of their characters and win our sympathy as well as make us laugh. This was the kind of production where Ernesto pokes himself with a pen and says ''ouch'' between his impassioned recitative and his despairing aria. Good move to get a laugh, in case anyone was about to take Ernesto's feelings, you know, seriously. Like Donizetti.